Difference between revisions of "Ion Grigorescu"

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Born 1945 in ROmania. Grigorescu is one of the very few multimedia artists in Romania who during the communist regime conducted visual research on the body: a taboo topic at the time. The artist’s body became work “material”—perceived as a “medium” and surface—onto which mental images are reflected. His body performances are to be seen as “post-happenings” with the emphasis no longer on the temporal dimension but rather on the photographic snapshot that, however, preserves a performative character. These works, like many others from the nineteen-seventies and eighties, would go public only much later.
 
Born 1945 in ROmania. Grigorescu is one of the very few multimedia artists in Romania who during the communist regime conducted visual research on the body: a taboo topic at the time. The artist’s body became work “material”—perceived as a “medium” and surface—onto which mental images are reflected. His body performances are to be seen as “post-happenings” with the emphasis no longer on the temporal dimension but rather on the photographic snapshot that, however, preserves a performative character. These works, like many others from the nineteen-seventies and eighties, would go public only much later.
  
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; See also
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* [[Romania#Experimental film, avant-garde film]]
  
http://subversive.c3.hu/en/Ion%20Grigorescu.php
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; External links
 
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* http://subversive.c3.hu/en/Ion%20Grigorescu.php
See also: [[Romania#Experimental_film.2C_avant-garde_film]]
 
  
 
[[Category:Experimental film|Grigorescu, Ion]]
 
[[Category:Experimental film|Grigorescu, Ion]]

Revision as of 11:46, 4 June 2013

Born 1945 in ROmania. Grigorescu is one of the very few multimedia artists in Romania who during the communist regime conducted visual research on the body: a taboo topic at the time. The artist’s body became work “material”—perceived as a “medium” and surface—onto which mental images are reflected. His body performances are to be seen as “post-happenings” with the emphasis no longer on the temporal dimension but rather on the photographic snapshot that, however, preserves a performative character. These works, like many others from the nineteen-seventies and eighties, would go public only much later.

See also
External links